Sally Shepherd
Final Year Digital Sketchbook - BA (hons) Silversmithing and Jewellery Glasgow School of Art 2021
Key Themes: repetition/rhythm/routine/the everyday/gradual change ecosystems; growth/decay using the natural world as a way to understand our own actions, reactions and processes landscape, stillness, scale details within a space, texture of landscape starting points/imagery lichen land art patterns in surroundings qualities of shadows and light material concerns sustainability - learn more about sustainable materials meaningful materials eg. local, connected to the work in some way. surface decoration jewellery or silversmithing?
Intention
Qualities
As a starting point I will to look into rhythms, ecosystems and patterns found in nature and consider how they connect to patterns in our own lives.
strong, cohesive visual aesthetic - to look contemporary but also feel organic.
I am hopeful that this initial research will open up to become about something more specific and tangible. I would like objects I make to have a narrative quality and I am open to creating objects surrounding a central narrative, however I want them to also be able to stand independent of the narrative and be aesthetically and visually pleasing by themselves. When working with ‘organic forms’ there is a danger of being overly romantic. By diversifying my research I hope to avoid this. I hope that as I spend time researching and drawing a visual aesthetic will occur and evolve naturally, and if not I can refine one from material gathered. My initial starting point was the work of Andy Goldsworthy, which I saw at the National Museum of Scotland. I find the way he connects with a place inspiring and I would like to explore ways of connecting to place for myself. Reading ‘The Living Mountain’ by Nan Shepherd and ‘Braiding Sweetgrass’ by Robin Wall Kimmerer, and other books related to my essay. On a practical level I will begin by: drawing and photographing patterns/shapes/plants/light/ shadows around me and start building a visual aesthetic. look into artists and designers whose work I find inspiring and collect images of their work in this document. read, research and collect information, with the aim to develop a more specific conceptual theme. research material qualities, environmental/local concerns related to them.
patterns, repetition in forms. process driven surface detail intricate and detailed, but not overcomplicated lightweight, use of negative space technically finished to a high standard
Noticing the quality of edges, looking for detail.
Video screenshots.
Repetition of pattern, moving simultaneously, 2 sided objects.
memories, attachment, sentimental/change
Objects collected from a walk around my family home, and from my Gran’s garden. Consciously trying to notice small details in my surroundings, collecting transient mementos. I only collected objects that were no longer growing, to avoid destroying new plants (although decomposing plants are important). I then began creating samples form the objects, combining them with copper wire. I don’t find them very successful as they don’t feel that interesting to me; I intend to experiment with casting when I have access to the facilities, and research/experiment with other ways of including found objects in my work, however I think what draws me to them are the patterns and textures within the objects and not the overall form of the collected objects. I want to create something that isn’t a direct replica, to change the object in some way.
https://www.ellenmarygardening.co.uk/post/2017/11/28/the-gothenburg-botanical-garden
During my exchange semester in Gothenburg I visited the botanic garden a number of times (Göteborgs botaniska trädgård) and saw these Dionysia plants. They were very carefully looked after and preserved, the public weren’t allowed to get closer than the image above shows, as some of them were rare plants that needed specific conditions to live. micro/macro, small ecosystems, repetition, routine.
Images Taken at the Scottish Gallery - visited 12/03/2020
Images Taken at the Scottish Gallery - visited 12/03/2020
Initial samples, quickly created. Thinking about light and shadows. Paper and masking tape.
Sample inspired by earlier drawings of grass blades, stretching and layering the paper to imitate the texture.
Texture created on tinfoil, inspired by the texture drawing. I then digitally manipulated the image and printed onto acetate and paper.
Layering and creating quick objects with the acetate, left a small line of the printed part on it to highlight the ends of this piece. I like the quality of the prints - created by printing onto the wrong size of the acetate so that the ink balled up on the acetate, before printing onto paper.
Line drawings from the printed acetate, translated into 1mm wire. I like this direction however the wire feels a bit too heavy, and it feels like it’s trying too hard to look organic. I want to create something with a more regular pattern or structure.
Leaf stalks, traced round and roll printed onto aluminium. I like the regularity of these forms arranged like this and how it also keeps the original organic form. I think the aluminium forms are successful and I would like to try to replicate it with chasing onto a thicker sheet of metal, or try embossing with the hydraulic press.
Weaving with string found with the leaf stalks. Explore weaving as a way to attach objects together? How could this be made more 3d? Look into basket weaving techniques.
Painting with leaf stalks, trying to create as many textures and varied lines as possible. I enjoyed this mark making and think it produced some good forms - how could these be made 3d? Could I make marks on a more unconventional surface?
day 1 in the workshop 07/10/2021
Hammer textures, referencing earlier pattern drawings. Experimenting with heat colouring methods. Oxidising. Press forming
Press forming and hammering onto aluminium and then onto copper mesh. Thinking about how I can bring lightness into the quite solid, hammered texture pieces. I really like the qualities in the mesh but not sure how I can make this more 3D. How to deal with the edges. Enamel - try industrial enamel. Try flux.
Collected objects at the beach, wire setting. I like the wire elements but incorporating found objects isn’t something I can see myself carrying on with, I think it would need a lot more context and feels a bit forced here. Could try wire wrapping then removing original object - memory/traces
Rocks collected at the beach, twisted binding wire, reticulated aluminium sheet.
Folded box made from the hammered copper mesh, placed over a hammered aluminium sample. See-through mesh creates overlaid textures Catching light at different points Surface and hidden texture: looking inside an object. Looking closer.
Copper leaves, forged from 0.5mm sheet (much less than 0.5 now) Pushing the metal to crack because it’s so thin. Trying to create volume without weight. Trying to replicate the feel of the leaves in metal.
Pieces developed from the paper samples on the previous page. I enjoy elements of these objects, particularly the movement they have. The copper feels quite solid/heavy and doesn’t have the same feeling as the paper samples - could try adding texture explored previously and rolling thinner.
30 Objects In this project I have created a lot of samples and objects featuring separate design elements that I want to explore further and combine. I don’t feel like I have finished forming my ideas in this experimental, process-led way; the next step towards creating more developed objects is to combine multiple design elements into the same object, which is something I feel is missing at this point. My favourite objects are the ones that incorporate light as a feature, that capture light in some way or have a lightness about them. I want to continue experimenting with the copper mesh as I feel that it is an interesting way to combine the heavier hammered textures onto a material that lets light through. I also like the punched holes I created in textured aluminium samples, creating pattern and light in a less predictable way than drilling. I also want to reintroduce qualities from my ‘looking ahead’ (and more recent) drawings into the objects. I intend to do this through etching and creating paper and clay samples. Something that I have almost subconsciously been focusing on in nearly all my objects is the use of pattern. Initial key words I was thinking about while making the objects were light, reflection, routine, pattern, fragility/structure, negative space.
Studio day 5 - 04/11/20: - Hammered textures on mesh - enamelled mesh I enjoyed the patterns created on the mesh, I tried to keep the hammer marks more regular and I like the effect of this,; you can see the regular pattern when looked at in normal light but when you hold the mesh up to the light the pattern changes, it looks more uneven and you can really see where the weight of the hammer was. I then experimented with enamel as has been suggested to me a few times. I first tried to powder enamel, however the powder just fell through the mesh and stayed on some of the hammer parts, which was interesting but not what I was aiming for. I then tried industrial enamel. The pictures at the bottom show my first test, I did it in two layers as after the first firing there was only a very thin coating of enamel. The pictures on the middle row are wet process enamel over the original powder enamel sample. I think the textures this created in both pieces are interesting and I like how the enamel shows the texture of the fine mesh. However I feel that ultimately the enamel took away from some of the things I liked about the mesh; how it changes when held up against the light. I also found the enamel pieces to be quite brittle, which it not a quality I like; I want to make pieces that look sensitive but are robust. I’m sure there would be ways of making it strong as these are my first test pieces but I can’t honestly see myself working with enamel a lot in the future so I might leave it here.
Enamelled copper mesh, press formed then laser welded to a copper wire. Very fragile.
Laser welding - trying to resolve the edges of the mesh, securing them to a frame. Left: oxidised copper, brass brushed.
Chasing - first time I have tried this technique.
First experiment with fusing wire to copper mesh. I used 0.3mm wire. The mesh is about 0.3mm thick and finely woven, the individual wires that make up the mesh are much thinner than 0.3: about 0.1 - 0.15mm.
In this first try I laid the wire over the mesh, heating it and pushing it into the mesh with a solder probe, heating until it fused together. The wire did melt on its own and split but is secured to the mesh.
Second wire fusing sample, the wire fused more successfully in this sample as I did it in a more methodical and deliberate way. Still pushing the wire onto the mesh to get it to fuse, otherwise the wire sits with a gap above the mesh in most places. I fused it laid out flat, then formed into a cylinder.
In this sample I laid the mesh over the wire and fused it from that side, which avoided the wires melting and seemed to work more evenly. I still pushed the mesh onto the wires with a solder probe. I think if I had a bigger torch it would have been much easier and fused more evenly; the torch I currently have wasn’t able to heat the whole piece of mesh at once, so I had to concentrate the heat towards the wires individually.
I enjoy the transparency the mesh holds and I would like to continue ‘drawing’ onto it by fusing wire (although I need to develop this technique). As my intent is to create wearable jewellery, I am struggling with the malleable qualities of this material, as it moves and gives way to any pressure that’s applied to it, and applying it to the body has caused it to lose the majority of it’s transparent qualities in my attempts so far. My next step is to consider the body more specifically in my designs, however I have been struggling with this for a while so I need to change direction in some way. I intend to continue with the mesh samples but alongside this I want to create samples that don’t involve mesh as I feel currently it is limiting me in a negative way: perhaps creating objects outside of this mesh surface will allow me to return to it from a different perspective.
There are qualities in this sample that reference textiles: the woven mesh, the way it lets light through, it’s flexibility, it’s raw edges. The wires fused onto it like excess threads. Opposite: a wall display design, a collection of samples, arranged and fused together like patchwork. Fragments of pattern brought together to form a collective visual composition. Could use a variety of density of mesh to create varied colour and shadows.
Brief I aim to create finished final pieces, however my main focus due to limited workshop access is exploring and resolving individual elements and creating an aesthetic and overall cohesive concept for the collection. This includes physical making (with a focus on techniques and samples rather than finished pieces), as well as having professional quality imagery, an idea of how I want to communicate my work, and a coherent artist statement. .
necklaces - The necklaces will be formed of repeating components and be evenly weighted.
rings + earrings - The rings and earrings will be developed from one single design element each, examining it in more detail, for example the forms could be taken from an element of the necklace
brooches – explorations of texture, composition etc. Functionality less of a focus than in the other pieces.
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Display - Digital/printed display of pieces is the main focus due to the pandemic. Therefore I will use the photography services in gsa to photograph samples and pieces, as well as using my own camera to take good photos of my work. - high quality composed photos of my work as well as photos of it being worn - digital collages of inspiration photos, drawings, etc. - process photos. - images possibly collated into an online lookbook.
Key Words detail – light – shadow – space – environment – fragility – interconnectedness – interiority – atmosphere –elements (weather) – delicacy – texture – repair – line – time(passing) – memory – experience – balance – drawing/drawn line/drawn response
Actions -
Create a plan for studio days
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Continue writing through the process.
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Write an artist statement.
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Write about and consider the body specifically in relation to my work. How will it be worn? How do I want it to be worn?
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ask people to test my website
Information from: https://www.iucn.org/resources/issues-briefs/peatlands-and-climate-change https://www.hutton.ac.uk/news/world-soil-day-why-we-need-protect-our-peatlands-erosion https://peatlands.org/peatlands/what-are-peatlands/
and nurtures the soil.
cover of the land and soaks up excess rainfall, which protects
(illustrated above). Sphagnum Moss helps restore vegetation
ed peatlands: by planting and cultivating Sphagnum Moss
My medal design focuses on a method of repairing erod-
function correctly.
and carbon release as the landscape becomes too damaged to
increasingly eroded. The erosion leads to disastrous flooding
heather burning and overgrazing, peatlands have become
Due to historical mismanagement and practices such as
store, and a source of drinking water.
largest carbon store on land, a wildlife habitat, and a water
Peatlands are an essential part of our ecosystem: they are the
Illustration of eroded peatland bog: pencil and pastel.
2D Design Submission Medal Design: Land Erosion
GC&DC Competition 2020/21
These designs were rendered by hand using pencil and pastel, with additional digital manipulation using Adobe Photoshop. The design boards were made using Adobe InDesign.
The bronze gives the medal weight, dispite the negative space in the design.
The medal would be 3D printed in wax, then cast in bronze. No part of the design is less than 1.5mm in thickness.
The medal is made of two parts joined together. The more solid part has a hole in its middle representing eroded land, with it’s shape taken from the form of a peat hag. The ‘erosion’ is covered by a pattern that mimics Sphagnum moss, representing how adding this moss to eroded peat bogs can begin to repair the damaged land. The medal is a gently domed shape, with the edges slightly rounded to avoid sharpness. I chose this shape to fit the contour of a hand.
50mm
to scale
65mm
15mm depth
Brass and brass mesh. Used 0.5mm sheet to create 4 rings, trapped the mesh between them and then used a ring stretcher to enlarge the inside ring, holding the mesh in place with tension. Resolve - there is a small gap in this ring in the mesh part. Could try either a seam by folding the mesh, riveting, sewing, or adding another solid wire element to hide + secure the seam.
Burnishing texture onto brass wire cloth.
Brooch: brass woven wire mesh, brass sheet, steel brooch pin Height: 56mm Width: 38mm Depth: 8mm 0.8mm brooch pin
Mesh edge solution: tube with gap, mesh edge in tube then hammered closed. Holds securely with tension. Quicker and more secure than riveting, however only straight edges can be done with this method, corners appear messy in tests so far if adjoining edges have tubes.
Handmade silver tube with gap (quicker than sawing vertically along tube lengths. Oxidised on right.
Didn’t photograph when fully constructed, testing if I could control the curve using wires at either side of the components, the outside wires longer than the inside. Mechanically it worked however the necklace felt stiff, and the two wires created a negative-space shape which detracted from the form of the wire pieces.
Initially made the components different widths so that the necklace would gradually get thicker and thinner, however when put together like this I decided it would feel more natural to have the components all the same curve, as the edges feel like they stick out. I feel this could be pushed further however.
Joined using jump rings (0.8mm wire). Curved the components a bit more so that when worn there is an element of layering of the material. Joined in this way the necklace is flexible and has its own sense of movement.
Visualisations / Proposals
Visualisations showing alternative ways of linking components, varying its spacing, movement and depth.
Further material development: texturing using photographic etching and hammering with various metalsmithing hammers. Etched pattern taken from a primary research drawing, which was then abstracted before further distortion took place through etching.
04 - Necklace proposal: 0.3mm silver sheet, silver plated copper mesh, 1.6mm silver tube, thread. Length: 1800mm Thread linking through the tube, using knots to space the components.
05 - Necklace proposal : silver plated copper mesh, sterling silver. Alternative materials: silver and copper mesh, oxidised - referencing more directly the shadows and drawings in my primary research.
Fastening detail: held with tension.
Component test piece: silver tube and copper mesh. In the proposed design the raw mesh edges shown above will be resolved by folding the mesh prior to assembly, creating a smooth edge that won’t catch on clothing.
Length: 980mm Diameter of components: 16mm
Digitally created render from oxidised copper sample
material and texture development: brass and copper mesh, various gauge, some oxidised.
13 - Ring proposal model: bras
The mesh is held in place with tension, the edge is left exposed as a decorative eleme silver or gold plated to give a the ring a consistent colour,
This ring was designed to hold the material at a distance from the bo Being a ring means that it will be in near-con
height: 30mm width: 12mm wires: 1.5mm ring depth: 1mm
ss woven wire mesh and paper.
ent. This design would be made using silver in place of the paper, and could then be allowing focus to be on the material qualities of the ring.
ody, allowing light to shine through the material and create shadows. nstant motion, catching the light as it moves.
14 - Ring proposal model
Brass and brass mesh. Using 0.5mm brass sheet to create 4 rings, a textured mesh ring is trapped between them. A ring stretcher then enlarges the inside ring, holding the mesh in place securely with tension. 1.2mm band width
Material sample - showing how the vertical edges of the mesh are secured by folding twice; creating a secure seam and avoiding sharpness.
2.4mm
15mm
18.4mm inside diameter (size Q) 20.8mm outside diameter
80mm
3mm material and technical samples
50mm
brooch proposal: Silver, copper mesh (oxidised) 50mm x 80mm x 20mm Tubes joined together onto textured silver backing. Could be lifted off the surface of the silver backing using wire posts, to allow more light behind the tubes.
brooch proposal Silver, copper mesh (oxidised) 50mm x 80mm x 30mm Tubes of different depths, creating a surface with more depth.
Collage Brooch proposals: Etched brass, oxidised copper mesh, brass 2mm wire, 0.8mm steel pin. Attached together using rivets and soldering.
Sally Shepherd Portfolio 2021: Skirfare Collection BA(hons) Silversmithing and Jewellery Glasgow School of Art
My graduate collection responds to sensitive aesthetic qualities found in everyday experiences of nature. Influenced by both rural and urban landscapes, my work focuses on light, reflection, shadow and gentle movement. The collection is named after the River Skirfare in North Yorkshire, referencing the surroundings that initially inspired my final-year research and the place where I grew up. Spending extended amounts of time in familiar landscapes over lockdown was the starting point for this body of work. I used drawing, photography and collage as a way to record and focus in on details in my surroundings, altering perception of place and familiarity, before translating these practices into metal; creating objects of longevity.
Natural light, and its qualities of reflection, diffusion and refraction, are a significant consideration throughout this collection of work. Characteristics of the play of light on elements of transparency, pattern and surface texture allow for specific sensory experiences in both the wearer and viewer. In this sense, the jewellery presented here is intended to invoke a feeling of calm, thoughtfulness and an aspect of nostalgia, reflecting human perceptions of nature and the environment. Metals, such as fine copper and brass mesh, help to produce an impression of transparency, flexibility and delicacy. Hammering of different intensities affects the distribution and alteration of light on these metals, flooding small areas with brightness while others remain in the shadows, just as daylight affects the landscape in endless patterns that appear over variegated grounds.
necklace - materials: silver, copper (oxidised). length: 980mm (unfastened), diameter: 18mm. model: Tilly PM
brooch - materials: brass, silver, steel brooch pin. height: 56mm, width: 38mm, depth: 8mm
brooch - materials: silver, copper (oxidised), steel brooch pin. height: 62mm, width: 36mm, depth: 14mm
earrings - materials: silver, brass. height: 80mm, diameter: 22mm. model: Tilly PM.